FREE PREVIEW | The Crash Photo Shoot Part I of 3

(groovy instrumental music) – It’s time to shoot a car crash image and we’ve done a little walkthrough. We’ve gotten approval from
the ranger on the spots where we wanted to be that
we looked at the other day. We had kind of an interesting morning in that we had some equipment missing. I think the contractors may have taken some of our gear, but we
tried to rectify that. Heading out to get a new
generator so we can maybe get that going down here and
puff a little smoke in there and create that atmosphere I talked about in the pre-production to this. We have a beautiful
overcast, foggy morning which will help us out a lot. What I thought we would do
is to come in here early before the sun came up, and then if we had to,
put the silks across. But now we have a silk in
the sky in the overcast day so we’re just gonna add
a little strobe to her and then that’s it. We also had a quick
little chat with the hair, makeup, and wardrobe about the story and what we want the girl to feel like. Obviously, she’s not all
just pretty and dolled up. She’s crashed her car. There’s gotta be something that
shows that she’s disheveled, distressed, coming
there toward the camera. We’re gonna glisten her up a bit, maybe get some dirt. We’re having several dresses. One option is for this scene right here. She’s gonna walk through the water. Then we’re gonna shoot
the car later today. She’s gonna be sitting on it. So we have different outfits for this, so we’re gonna mix and match a little bit. What we’re using here is a
dress that we can actually get dirty and tear up a little
bit, make a little dirty. That’s our agenda for this morning. I think everything is here. Now it’s just to get this thing going and create something good. (groovy instrumental music) And then come forward. You’re gonna do it in
front of this tree as well. OK, that’s cool, Adrian. A little bit further to the camera right. – Camera right?
– Yeah. Cool, higher. Beautiful. Thank you, sir. So the reason for us
putting this white cardboard behind these trees is that
we want the car to go there. It’s going to be hard
to cut out leaf by leaf if I want to lay the car behind it. So we’re putting the white there so I can make an easy
selection and mask the tree out and then insert the car behind it. That’s why we’re doing what we’re doing. We’re going to be doing
this several times today as the light changes a bit. That’s the process of helping me knowing first where the car is
and then also helping us to place the car
beautifully into the trees. I think I’m ready for
some test shots of her. 7:42. Do you want to get our lovely lady and do some test shots? So we’re getting pretty close. All the crew is down here
and we’re getting to the part where I really start
crafting the pictures. This is the part I truly, truly enjoy. We get the talent on set and
we’ve created the back plate. We’ve done some parts and
pieces and now it’s really getting into the nitty gritty of it. Getting the emotions, the
talent, all that stuff that really makes for the photograph. OK, let me see. I don’t have another tripod. Adrian, do you see a
tape measure over there or did Mike take that with him? – [Adrian] I do not see it. – That’s okay. It goes right on my belt buckle. (camera shutter clicking) Right, so for camera
settings, we’re at ISO 320. We’re at a fifth of a second at F9. And you know there’s a balance there. The leaves are moving a little bit so I don’t want to go too long exposures, but I also want a depth of field to hold her as she comes walking to me. The focus is right at the water’s edge. I want her to sort of start midway there and come walking towards me. That’s where I’m at, trying to give myself that depth of field so that I have some sharp space between
foreground and background where I can put her in. This will be a little bit more fluid when it comes to the composite. She won’t be static, she will be walking. So it’s important for me to
have some depth of field. As I say this, I might actually do a little sharper frames here. We’ll go down to maybe a second. Hopefully the leaves will be still enough. And we’ll go F16. And with a wide lens. That should give me enough depth of field to put her beautifully in there. Awesome. I’m gonna do a composite plate. I’m gonna measure this and then I’m gonna go down there, just to make sure we got it. – 50.
– 50. Are you gonna be okay
walking in the water? – I’ll make it work. – If you get too cold, let us know. Do you want sandals? – Um, no, it’s okay. Thanks. – Cool. Right in there. The shallow sand bar that’s here. Just start six, seven feet in. Then you come walking. Before you step in, hang on. Let’s do a light test. If we can just get someone standing here so at least we know the
exposures and all that stuff before she gets in. I’d probably go handheld
on this, to be honest, because I’m gonna fall over. Oh, wow. That’s way too much power, Adrian. – Go all the way down? – [Erik] Try to feather it in
that way and see what happens. Annie Mekie? – Anna Mika. – Anna Mika, that sounds better. Anna Mika. All right, good nail polish
on the toes. (chuckles) Nice and warm. Take a deep breath, just
embrace it. (laughs) Easy for me to say, right? Keep on going. Right about there. How is it? – It’s hurting a little. I think I have to get numb for a second. Initial pain. – I think you should just use it. Think about that pain as painful and just try to channel
it into the expressions, right, of the car crash. You can use that in the
way that you act this out. Do we like the jacket? Want to do it without? – [Woman] She looks more
fragile with it off. – [Erik] Ah. Feather it that way, the light. – [Woman] She’s more
fragile with the hair up. – I would shoot it up a bit too. Just tilt it up a little
bit from where you were. I wouldn’t look in the camera. Just look off this way. Small step that way and
then you walked all the way towards Franz here. She’s your target. You gotta try to put
your mind to it, yeah? So the body language, yes. Body language and everything. – [Anna] Where’s the car? – It’s behind you. – OK. – The story is that
you’re leaving the car, getting out of it, right,
and you’re coming this way. Beautiful. – I’m living in the car? – (laughs) No. You just crashed it. – You’re leaving the car.
– Oh, leaving. – [Woman] You’re maybe even
kind of limping a little bit. – Yeah. Anything that you can do to sort of, just put your mind to the car crash. To give you the broader picture, it’s kind of a love story. We’re going to do another picture where people are talking
together in a room. The next scene is this where
you’ve sort of taken off, escaped, crashed, you’re
coming out the car. You can bring all that too it. Think about some heartbreak or something on top of being car crashed. See if you could just (inhales) take a deep breath and just go. – Am I like running, or? – It’s a little bit dark yet, so try to just walk fast. Whatever you think it is, actually. You’re not escaping, right? You’re more sort of distressed, almost. And go. Wow, beautiful. Beautiful, well done. It’s overlit, guys. It can’t be on her. Gotta feather off. Try to step two steps back too, Adrian. You’re doing beautiful though, well done. I think you should scruff
her up a little bit. Should we put the jacket on her? – Is that light better? – It’s better for sure. Do you want to smooch up a little bit? – Yeah, you ready? – Ready. – Once we start, we can’t go back. – We can’t go back. I wonder what would happen if
I just shot in natural light. Wonder what would happen if I just– I’ll try one with natural light too. Let’s put the ND on there, right. So we’re prepared. – [Woman] This is the
side where she’s hit. So more. – Well done, looks beautiful. Do you want to put the jacket on her, yes. You look crazy cold. – I don’t know if we’re gonna
see it with the jacket on. – Well done. (crew chattering inaudibly) Let’s turn this off for now. As you walk, don’t drop the fur. It’s halfway on, halfway
off, and you’re trying to pull it on yourself. – You’re in shock. You were just in an accident. Disoriented. – Disoriented. Wow. Beautiful. I wonder if we just shoot
it in natural light. I’ll turn it off. We’re gonna try one natural light. Yeah. Yeah, I love it. More. That’s good, that’s good. I think that’s nice. If you overdo it, it might
just trickle up the dress, and suddenly we got– Kind of nice. Good strobe on it, yeah, big time. That’s natural light. It’s prettier, huh? All right. Ready? (laughs) No acting here. You look all disheveled already. All right, ready? Franz, come this way. Let’s give her an eye line. You’re heading straight for Franz. – Where do you want me? – Right there. Okay, and take a deep breath, and action. Beautiful, beautiful, I love it. Again. I would take it a little slower this time. Think theater acting versus movie acting. Theater acting is, they’re
down on their knees and they go– (yelling) So a little more subtle. Otherwise it was perfect. Hey Mike? Give me the other lens, 24/70. I think it’s just sharper than that one. All right, you’re on. Put your mind to it, and action. Beautiful, wow. Amazing, again. When you get too cold, let me know. Until that time, we’re just
gonna keep on shooting. Wow. As you do this, now try to
fix your eye down the river. So you’re looking this way. So I get a little more
light into your face. Mike, can we get the scrim jim down here? We’ll try that instead of– Hang on, Adrian, let’s
just try really subtle with the strobe. One round. Just shoot it straight
across so it bleeds off. Okay, ready, and action. Yeah, beautiful. Wow, amazing. Again. No, don’t be sorry. All that stuff is good, it’s real. Wow. Do it. It is just beautiful. I don’t think we need any light here. Ah. All right. Again. Just fill your heart with
heartbreak or sadness. Someone you lost, family or
accidents you can think of that just brings that sadness in there. Then you take a deep breath and you go. – Is this okay on the shoulder like that? – I love it. It should look disheveled. You could try to put it on, you know, with the other hand too. Careful with the water. Okay, I’m gonna turn it on. Try one round with visor. Now, Mike, I feel pretty good here. We could try to shoot
the car next time too. All right, ready? And put your mind to it and action. Wow. Beautiful, I love it. Again. Wow. – [Woman] Ooh, yummy. – [Erik] I think it’s beautiful. This is only for her, right? I’m really happy. – [Woman] I love her expression. Great expression. – Anna Mika, it’s lovely. Last round with strobe, or no? I’m just gonna keep on
shooting with natural light. I don’t want to mess
with a good thing here. All right. Lovely, I’m gonna come a little closer. Bring the computer closer too, Mike. Beautiful. And action. Wow, I love it. Again. Now just do rounds. Don’t think about me as much. Just say in the mindset. Go back and forth and back and forth. – [Woman] The color is really
popping against the darkness. – You’re doing amazing, again. I’m a little low, ain’t I? Just give me a 52 to double check. – You’re at 40.
– 40? A couple more times and
we’ll give you a break. That’s beautiful. Wow, amazing, again. Are they coming in or what? I’m completely unsharp, ain’t I? Let’s do some more too. I like it. Nice. Damn, the camera is busy, busy, busy. Last one for now. Look at that. I cropped her off, huh? I can’t– It just says busy. Am I caught up, how many? – Still coming in. – That’s amazing. Amazing. You’re amazing. Do you want to warm up for a minute? Thank you. Just beautiful, beautiful, beautiful. Let me see. – Sit down on the white and then you can wrap this around you. – I’m getting back in the water, right? – Yeah.
– Right now? – No, no, not right now. If you want to keep on going– – I was gonna say, it hurts the most to be coming back to body temperature and then having to go in again, so I would rather stay with my feet in. – Let’s shoot then. Yeah, if you’re okay with
it, I’m happy to shoot. It is, yeah, imagine getting
a car back there and stuff. (bleep) I’m so excited. – Set her deep out there.
– It’s all there, huh? I’m gonna come a little closer, Mike. All right, whenever you’re ready. Just take a deep breath,
again put your heart to disheveledness, sorrow,
find that one thing you can think of that brings you there. Whenever you’re ready, just start walking. Yeah, beautiful. Wow, amazing. And again. Let me see, Mike. – It’s not really coming off on there. I think we need actual dirt, babe. It’s not showing. – Shall we get some reflector on? Let’s try one with strobe again. Just feather it off a lot. I would love one of the the
straps to come off, if we can. We tape that thing, yeah? So the strap just leans off. Look at this frame here,
the one that I marked. Yeah, look at this one. Keep jumping because they keep coming in. It’s beautiful, huh? I’m really happy. Anna Mika, you’re doing amazing. Really. – It’s easy to be in the
moment when I’m freezing. – Just embrace that. Just think, “I’m (bleep)ing
cold, it hurts, it’s painful.” Use that pain to create those expressions. – Flash us your dirty shoulder. – Yeah. (laughs) I’ll turn it on in a minute. Amazing, again. Wow. Beautiful. It’s subtle but it’s there. I would take it up a tiny bit. A third, maybe. Thank you, sir. Beautiful. Just stand right there for a minute and look out this way. Hold there for a minute. I’m just waiting for the
computer to catch up. Yeah, hold it right there, beautiful. Come a little bit more frontal, Mike. Beautiful. Nice, go back in the water, lovely. See this last one. Amazing. We gotta get the smoke in
here as soon as she gets here. And action. Amazing, Anna Mika, it’s beautiful. Do you want to see? – I look like I’m in pain. (laughs) Do you want me to tone
down the facial expression? – No, I love it.
– Okay. – They’re still coming in, some of these. The other ones in here. I think it’s just beautiful. – You want my face to look like that? – I love it.
– Okay. (laughs) – These are true emotions, right? I love it. We can do some beauty
shots of you afterwards but this picture really
deserves that, you know? We gotta get the generator, smoke machine. It’s in my backpack in the front pocket. Was that Phyllis that just showed up? OK, thank you. Wow. Beautiful, wow. Have Adrian come over this way too. – Adrian, towards camera,
please, with that. – I don’t know where it’s drifting but we need power for
the computer as well. Can you go even further out for a minute? – Where? – Just two, three feet further. – [Anna] Like this way
further or that way further? – Right further, this way further. Deeper. Deeper further. All right, turn around. (laughs) Yeah, look at that. Amazing. Amazing. Let me know when you need a break. I think we kind of got it. I like it where it was
deeper, to be honest, so let’s go back there. You’re amazing. (laughs) No, really. Positive encouragement here. I can tell you’re freezing so
you’re really doing amazing. Last one and I’ll give you
a break, how about that? And go. Take your time there, beautiful. Wow, wow. Amazing, just stand
right there for a minute. Just right like that. Look at me from there. Nice, a little bit more determined. Just lean into it a bit. Beautiful, look out this way. Lovely. – The hand on your face,
that was really pretty. – Break time for you. Anna Mika, warm up. We’re gonna shoot some
plates with smoke and stuff, get some atmosphere, then
we’ll get you back down there in 15, 20 minutes. Good job. It’s just beautiful. – You want to get in the car or do you want to stay out here? – If I can go in the car. – Yes, go to the car. 15 minutes. Longer if you guys need to.

39 Replies to “FREE PREVIEW | The Crash Photo Shoot Part I of 3”

  1. This is a great video, a lot to learn from it.
    I still find it super weird seeing so many people working behind the scenes. Ā It must be nice to have help, but as a predominantly lone shooter I'd miss being more hands on.

  2. Haha I think he got like the best shots within the first 5 minutes of shooting her. But I guess when you have a digital camera an extra 300 frames doesn't hurt either.

  3. Definitely an eye opener. I am learning a lot from watching this BTS video, like what I should do and what I would do differently. Having the dedicated and creative crew collaborating makes a world of difference in commitment, vision and quality. I need that in a crew lol.

  4. The thing that makes this stand out is the concern this photographer has for the comfort and safety of his model. Well done.

  5. i'm not an expert put i think the model was cold and the most funny thing was the photographer praise her then suddenly "AGAIN" LOL šŸ˜€

  6. Maybe he could explain her expressions and emotions of the setting before and not standing in the cold water?

  7. quanta produĆ§Ć£o e equipamento pra pouca coisa e tanto bla bla bla , consegue fazer fotos melhor com um celular,, isso tudo Ć© so papagaiada

  8. Pobre chica logrĆ³ sobrevivir despuĆ©s de sufrir tanto friĆ³ para unas fotos de nada. Muy malo el fotĆ³grafo y sin sentimientos.

  9. what program are you using on your computer for tethering? I try using Lightroom 5, but after 5-10 shots, sometimes 3, my camera says it's busy. are my raw files to large or am i shooting to fast.

  10. poor model, cold with feet soaked in ): while someone* was there cosy warming his buttock on a apple box cracking up laughs

  11. This is the true side of modelling, not the bullshit you see on "Americas next top model".
    I've tried it and it ain't easy and I understand that he needs to get the best out of his model but he also can't invest too much time into comforting her, sh'e a professional. I've also discovered that personality has a lot to do with the type of photography you shoot i.e my people skills as a man are not up to scratch for setting mums at ease when photographing their precious little newborns, we get through it and the images turn out great but the shoot is intense and awkward (square peg in a round hole I guess).

  12. The model done a great job from the very first take, so I'd never ask her to do so many takes while standing in freezing water first thing in the morning? While he is in a jumper made from 15 sheep! ….it just don't seem the way a pro photographer would run a shoot, but there we are everyon is different I suppose

  13. 4:20 ugh yes, I didn't even need to see the shots to know that came out well <3 but I really think it was unnecessary for so many shots, this poor girl must have been freezing her ass off.

  14. You people are so critical, the guy does wonderful work and he just wants to make sure he has a lot to work with. Better to over shoot than to feel so sorry for the model that you don't get the shot. You forget I'm sure she is getting paid nicely for this

  15. He had to use the water more by letting her splash the water more with her feet, that would have given more dynamics on her coming out the water and looking desperate. By the way, she used the same expression in all the shots!

  16. Im a bit confused on how you overcame the laws of composition.. Sometimes I get too caught up into those details, but thats only because I want to make sure the time is not wasted for everyone involved and the capture is useful. You measured your V distance while locked down @50", I believe, then you went HH and knelled down. I understand the need to be more fluid when shes walking, but if your plates and Finished image is shot at 35mm (IE) and your V distance is 50", are you not worried about being under that when you are shooting her, which you appear to be. Maybe Im confusing your plate images early for the Car crash image and you shot plates for the walking images later ?

  17. This was torture LOL, and with all the repetitive similar shots she should have been asked to show more of her legs in some of them.

  18. He's an artist, he keeps on shooting because he's aiming for the perfect shot. Especially in a commercial shoot, he can't afford to have a mediocre image. Having the highest standards is how the great become great.

  19. Put the model in the water first, then give the entire backstory for the shoot. Not much consideration for the model :/

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